Both serious athletes and fitness enthusiasts seem to always be on the lookout for the newest and most “advanced” forms of exercise or piece of equipment to enhance performance, rehabilitation, or general health. However, most people tend to have forgotten the extreme importance of the simplest form of exercise- walking.

Our bodies were design by nature to stand upright and walk on two legs. With the advancement of technology, automobiles have replaced walking. Most people would rather drive 2 minutes to get to a destination than walk. Physical labor is required by fewer occupations, especially with advancement of computers. Machines are replacing more physical household chores and leisure-time activities are those that require no physical exertion or movement are becoming more popular. Studies have shown that the average American adult only walks between 3,000 – 5,000 steps a day. A greater number of steps can easily be taken in 30 minute walk yet that is as much as most people walk throughout an entire day.

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Flexibility is an attribute that is extremely beneficial in virtually every sport. Most people believe that increasing one’s flexibility is simply about stretching. Contrary to popular belief, increasing flexibility is not solely about stretching a muscle. In order to properly increase flexibility, a proper balance must be established between that muscle and all muscles around and opposite to it.

This article is not stating that stretching is not beneficial. It is stating that random stretching is not beneficial and can be detrimental. Stretches specific to a person’s body, in addition to other exercises that establishes muscular balance is needed to have true functional flexibility. Random stretching does not establish this balance, which, consequently, results in one or more of the following:

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First, I would like to congratulate Benny Meng, Don Grose, John Widener, and John Sterling on their article introducing the public to Don’s annual Wing Chun Gathering in Arizona. It is always worthwhile for people in the art to get together in a friendly and educational atmosphere. It is something I have strived to accomplish for quite some time now (starting with the first Internet based wing chun discussion list in 1993), and is also a reason I’m writing this letter.

It is a shame that an article promoting unity, gathering, and understanding in the Wing Chun family presents information that is inaccurate and attempts to leave out the actual principles involved. Specifically where the article portrays the VTM (Ving Tsun Museum) as the originators and organizers of the original Wing Chun Friendship Seminars (listed as the 1998 Victoria, Canada, 1999 Ohio, and 1999 Rochester dates in the article).

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Personal Protection is a relatively new phenomenon in the field of self defence. In fact, it represents a radical departure from the somewhat limited vision presented by most traditional self-defence systems.It is inspired by and based on two major influences:

1. The work done by two very respected and experienced (in terms of both tournament performance and real life confrontations) British martial artists, Geoff Thompson and Peter Consterdine; and
2. The highly efficient and practical Chinese martial art of Wing Chun Kuen which, interestingly, Messrs. Thompson and Consterdine acknowledge in their video series, “The Pavement Arena”, as having had an influence on their own self protection philosophy and methods.

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I can use tan da to intercept. I can also use it to draw the opponent in and over extend them. The key is in the timing. If the opponent’s punch is almost extended, then you will be receiving the full brunt of their force and momentum on your tan sau. If you can intercept their punch BEFORE it reaches full extension, their power has not fully released yet and the tan sau structure can jam and uproot them. The larger the person punching, the better your timing has to be to put yourself in the best position because you are dealing with more force. The tan, when used properly, is not force on force, but rather it is force applied at a particular angle in relation to the incoming force. When I intercept, I don’t wait for the opponent, I go out with my structure and intention and arrive at where they are going before they get there. They cannot occupy the center if I am already there.Similarly I can also use the tan to withdraw and overextend the punch. This requires a different timing upon entry and I need to feel what my opponent is doing and if he changes to something else.I have also used the level tan when in close and the point of contact has moved up the arm away from the wrist and closer to the elbow. It gives good leverage to uproot someone when combined with structure and the horse to drive it.

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The southern Chinese Martial Art of Wing Chun Kuen, is predominantly known as a striking style. What isn’t widely known is that it contains many different hand striking methods within its arsenal. Wing Chun utilizes three methods of striking with the hand. There is the fist, the palm and the fingers. My si-fu, Augustine Fong once told me, the development of the fist takes one year, the palm takes five years, while the fingers take ten years. This article will examine the many different striking methods of the Wing Chun Kuen.

There are eight basic punches within the lineage of Augustine Fong, of Tucson, Arizona. These eight punches can all be found within Wing Chun’s three hand forms. The fists may be drilled within single-person techniques or done in an exercise conveniently called “eight punches exercise”. They may also be practiced in two person drills or within Chi Sau (sticky hand) practice. Chi Sau is to be used as a laboratory for developing all of your punching methods, not to mention all of aspects of the art. When I say “basic” punches, I mean to say there are eight punches but with many different methods of applying them. Any hand technique may be utilized as a strike, which may be applied in a variety of ways. With this in mind, there is a limitless amount of hand striking methods hidden within the Wing Chun style; it is up to you to discover them.

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Generally, the way I teach locks/restraints are to teach the general principles behind a lock (i.e. how you’re affecting a joint, or ligaments/muscle), behind leverage, behind positioning, etc. and use specific locks as examples - but stress the importance of not taking these examples as verbatim techniques to be memorized. The examples are used to illustrate the principles, and show the student how the principles can be applied, and change in application depending on the situation. One of the first things I teach are that locks/immobilization are generally done after the distance has been closed or the reaction has been cut - through a strike. It is very hard to realistically go directly in to a lock/immobilization without some form of uprooting or initial counter attack. A counter attack performs the dual function of a) closing the distance, and b) cutting the reflexes. Very rarely can you flow right in to locks and holds as they are often irresponsibly demonstrated in public demonstrations and movies. Your opponent will not be as cooperative as that screen actor or you kwoon training partner. Most locks/restraints that involve going directly in to the lock/restraint, and can actually be done, involve either:

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I used to spar with a friend who was training for the Olympics in Tae Kwon Do Before his ACL was torn. He also was part of a very traditional Tae Kwon Do background as well, so he was able to use his hands unlike many of the more sport-oriented Tae Kwon Do schools out there.

He outsized and outreached me (his 6′ to my 5′7″) and I learnt some valuable things from the experience:

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I think the problem with the “Wing Chun has no grappling” argument is in the interpretations of the art people have been taught by many of the current Sifu’s (this century). Much of it concentrates on superficial “striking” and landing hits, with controlling and manipulation taking a side line supportive nature. Controlling (holds, locks, manipulations, etc) and uprooting - “grappling” is certainly at the heart of the art, or any combative art for that matter. The problem again, is there are certain pop-culture (yes, martial arts does have a pop-culture) views that relate “grappling” to a “wrestling” ala Greco-Roman, etc. separate art view.

With regards to ground fighting in particular, that again is a view that is subject to interpretation. Many of the interpretations taught have taken certain drills and drill formats as a gospel - i.e. the application, rather than the general principles, timing, and general coordination they are meant to teach. Similarly with the forms (whatever forms your branch has).

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The realization of a Martial Artist’s personal potential is acquired through the combination of highly developed levels of skill and the Martial Artist’s natural abilities.

Introduction

The level of competency, with which a martial arts practitioner is able to strike a target with the maximum of his potential power, combined with precision and accuracy, or likewise receive and redirect any incoming force, is largely dependent on his stability and body control immediately before, during and after the act. There is an important relationship between stability and body control, namely, that a decrease in stability results in a greater need of body control to ensure that the execution of a technique is successful. Interestingly, this increase in body control belies the notion that the highest levels of the martial arts are achieved using the concepts of economy of motion or the conservation of energy. In effect, the ability to maintain the requisite level of stability is one of the factors that determines the level of efficiency and skill at which an athlete operates, doing the least to achieve the most is representative of an accomplished Martial Artist. It is therefore important that the Martial Artist, as with any athlete, has at least a fundamental understanding of the means by which stability is maintained in one’s particular art or skill efficiently whilst in the processes of giving and receiving impetus.

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